by Rafaël Newman
Last Saturday, November 2, 2024, at a collective atelier in Zurich’s Wiedikon neighborhood, I attended the launch of a new periodical. TETI Journal, available both online and in print form, is a publication presenting academic and artistic work in line with the aims of TETI Group, an “interdisciplinary research platform to investigate the changing materialities and imaginaries of our global societies.”
TETI Group, whose acronym stands for Textures and Experiences of Trans-Industriality, was founded in 2011 by the art historian Gabriel N. Gee, and is currently “animated” by Jose Caceres Mardones, Philippe Desarzens, Anne-Laure Franchette, Lori M. Gibbs, Stéphanie Gygax, Monica Ursina Jäger, Petra Koehle, Maria João Matos, Cora Piantoni, Bérénice Serra, Jan Van Oort, Caroline Wiedmer, and Gee himself. It includes TETI Press.

Gee coined the term trans-industriality in his 2008 doctoral dissertation, which examined the art scenes of industrialized northern England during the late 20th and early 21st centuries, in the wake of deindustrialization. As Gee writes in the introduction to the first issue of this new, spinoff vehicle, he was “intrigued by the social, but also cultural and political alternates that emerged to replace the former order, and by what appeared to be vivid connections to the industrial foundations of the modern age including the complex array of global entanglements associated with the dark side of modernity.” A complex array indeed, since for Gee, “the movement from industriality to post-industriality is not understood as being linear and synchronised, but rather, as multidirectional, ambiguous, leaning sideways and even backwards, in a constant metabolising process.” Read more »


In 1919, Otto Neurath was on trial for high treason, for his role in the short-lived Munich soviet republic. One of the witnesses for the defense was the famous scholar Max Weber.
Historians have spilled much ink analyzing and interpreting all of the U.S. presidential elections, dating back to George Washington’s first go in 1788. But a handful of contests get more attention than others. Some elections, besides being important for all the usual reasons, also provide insights into their eras’ zeitgeist, and proved to be tremendously influential far beyond the four years they were intended to frame.

Donald Sutherland was a connoisseur of poetry. In the 80s I knew poetry-quoting doyennes from the glittering parties the Academy of American Poets threw as well as the Sudanese who recited their histories in song, but mostly I knew poets obsessed with competing with dead ones, with an eye toward their next book. Poets generally love poetry the way auto mechanics love cars. They don’t luxuriate in the front seat, or take long winding car trips through the Berkshires, they make sure the ignition catches and go on to the next one. Hearing Sutherland recite poetry you heard the Stanislavski method of poetry-recitation, an oral delivery straight from the mind as well as the mouth. Sutherland said he was manipulated by words, not as a ventriloquist but in the relationship between feeling and meaning. Likewise, after numerous tussles with directors Fellini and Preminger and Bertolucci – he even tried to get Robert Altman fired from M.A.S.H. – he decided he was merely the director’s vehicle. Poetry directed him.



In daily life we get along okay without what we call thinking. Indeed, most of the time we do our daily round without anything coming to our conscious mind – muscle memory and routines get us through the morning rituals of washing and making coffee. And when we do need to bring something to mind, to think about it, it’s often not felt to cause a lot of friction: where did I put my glasses? When does the train leave? and so on.